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“Awesomely fiery”
-New York Times
Rebeca Tomas, Artistic Director ~ Pedro Cortes, Musical Director ~ Jose Perillan, Company Manager
[email protected]
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ABOUT THE COMPANY
A Palo Seco is a New York based Flamenco Company that strives to develop a unique voice, employing their Flamenco
expertise, while also taking into account the context in which they live. Their work aims to expose people to an
innovative way of looking at Flamenco, combining traditional techniques with a modern, metropolitan flare. Run by
artistic director and choreographer, Rebeca Tomas, the company debuted its first production in May 2010 at Theatre
80 St. Marks (New York City). The production was described as "a feast for the eyes and the ears" (Linsday Miller,
Theatre On-Line), and reviewed by several press sources, including the New York Times. Jack Anderson, for the New
York Theatre Wire, wrote, "Tomas is seeking to develop Flamenco in new ways." The company has continued its
yearly New York City season at Theatre 80, as well as appearing throughout the U.S. at the at venues such as 2012 the
Chicago Flamenco Festival and Jacob’s Pillow. Tomas and company have also been featured as guest artists at the NYC
Between the Seas Festival of the Mediterranean in the summers of 2011, 2012, and 2013.
“A Palo Seco” is a phrase that refers to a bare-bones style of flamenco music, often consisting of singing or percussion
alone. This stripped-down aesthetic has become a central theme in artistic director Rebeca Tomas’ choreography,
characterizing her biggest departures from tradition, while also rooting her work in the emotional rawness that lies at the
heart of the art of Flamenco.
“'A Palo Seco' as a whole was truly a feast for the eyes
and the ears.”
(Lindsay Miller, Theater Online)
“Flamenco with Soulfulness and a Burst of
Springtime.” (Gia Kourlas, NYTimes)
“The artists in A Palo Seco: Rasgos Flamencos go far
beyond showcasing their great musical and dance
talent—they offer the experience of being transported by
something deep and powerful stirring inside. It’s a level
of expression that can’t be faked, and that no amount of
technical perfection could replace. Melancholy, pride,
and raw passion—expression we’ve become
unaccustomed to seeing offered without apology—burst
out in wailing song, heart-racing rhythm, and
impossibly fast footwork. It’s a performance that
requires fearlessness, the rendering of body and spirit
complete.” (Megin Jimenez, NYTheatre.com)
“Tomás and her company know their flamenco, yet
they're willing to play with its conventions.”
(Jack Anderson, NYTheatre Wire)
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THE COMPANY: ARTISTIC DIRECTOR
Rebeca Tomas
Artistic Director, Choreographer, Dancer
Rebeca Tomas has been deemed by the critics "awesomely fiery" (New York Times),
"masterful" (Eva YaaAsentawaa), and "a postcard image of the feminine Flamenco
dancer" (Kansas City Metropolis). After years of freelancing as a solo dancer and
company performer with such companies as Soledad Barrio & Noche Flamenca and
Flamenco Vivo Carlota Santana, she began to create her own work and, in December
2009, founded A Palo Seco Flamenco Company. With the company, Tomas has
presented numerous critically acclaimed productions in New York City and throughout
the country.
In addition to directing and performing with her company, Tomas continues to work
throughout the country as a solo dancer, instructor, and choreographer. Her
choreography credits include assistant to the Tony Award-winning Choreographer
Christopher Gatteli in Lincoln Center's production of Women on the Verge of a Nervous
Breakdown, as well as in Gatteli's own In Your Arms. She was a guest choreographer for
R.evolución Latina's Choreographer's Festival and choreographed the group's piece at
the Broadway Cares 25th Annual Easter Bonnet Competition. Tomas also served both as
choreographer and personal Flamenco trainer for Yaron Zilberman's indie drama A
Late Quartet, released this past November 2012, which features Christopher Walken,
Catherine Keener, and Philip Seymour Hoffman. Presently, she is participating in the
Groundwork Residency offered by Cora Dance, in the support of creating a new piece
to spoken word.
Tomas is a two-time recipient of the Jerome Foundation's Travel and Study Grant
(2008, 2010) and the Lower Manhattan Cultural Council's MCAF Grant (2011, 2013)
for her company productions. She was also awarded the 2011 Artist Fellowship Grant
from the CT Commission on Culture & Tourism. As a dancer, she placed first in the
annual competition at the XIII Concurso Nacional de Flamenco in Albuquerque,
New Mexico (2010).
Rebeca began her formal dance training in Granada, Spain at Maite Galán's Escuela
de Danza Española and later moved to Madrid, where she studied at the
internationally renowned Flamenco Academy Amor de Dios. She has also studied in
Sevilla, focusing on Bata de Cola (long-train dress) technique. Prior to her dance
career, Tomas received a B.A. (magna cum laude) at the University of
Rochester. Throughout her undergraduate career, she studied piano at the Eastman
School of Music.
“Compact, spring-loaded, and finely
trained” (The New Yorker )
“a masterful flamenco dancer… Tomás
holds nothing back… she's truly a wellcrafted explosive device.”
(Eva Yaa Asantewaa)
"This New York flamenco artist is both a devoted traditionalist and a restless experimenter. She respects the achievements of her
art, yet is eager to stretch its boundaries.... Whether they are formally traditional or experimental, all of her dances may be fierce,
for Ms. Tomás, though physically tiny, can be awesomely fiery." (Jack Anderson, NYTimes)
"When she swept onto the stage for her alegrías solo... Ms. Tomás was like a burst of springtime. Wearing a flowing dress in
pinks and purples and flicking her long ruffled train like a mermaid’s tail, Ms. Tomás contrasted her winsome spirit with a more
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serious display of prickling footwork that rooted her into the floor with an earthy power." (Gia Kourlas, NYTimes)
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© Maly Blomberg
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THE COMPANY: MUSICIANS
“It’s hard to choose one artist to single out, as their performances are closely entwined and they are
all, simply, so good.” Megin Jimenez, NYTheatre Wire
Pedro Cortes, Musical Director & Guitar
Pedro Cortes is the third generation of a family of Spanish Gypsy
guitarists. He uses the experience passed down to him by his family to
maintain the purity of Flamenco while creating new and original
compositions. He began his studies with his father and the esteemed
Flamenco guitarist Sabicas and began touring professionally at the age of
17. He premiered his work En la oscuridad de las minas at the Teatro
Albeniz in Madrid, and in 1992 he had works premiered by Carlota
Santana’s Flamenco Vivo Dance Company at the Joyce Theater in New
York. He was commissioned by Zorongo Flamenco to write a score for a
dance drama called Garden of Names, which was inspired by the novel of
Lawrence Thornton's called "Imagining Argentina". He also wrote music
for a children’s program onH B O called Fairy tale for Every Child.
Mr. Cortes has toured with Jose Greco and Maria Benitez, and has performed with such artists as Farruquita, La Tati,
Merche Esmeralda, Manolete and the late Lola Flores. He has been guest artist with the St. Louis Opera and the New
York Grand Opera, and served as Musical Director with the Guthrie Theater In Garcia Lorcas Bodas de Sangre. Mr.
Cortes is artistic director of his own Flamenco Fusion group Amanecer Flamenco De Hoy, and also Musical Director
of Mimbre Y Vareta and Zorongo Flamenco . He has two books on Flamenco, El Dron del Faraon and Cruzando el Charco,
published by the American Institute of Guitar.
“Dazzlingly deployed virtuosity paced like capriciously gathering storm…” Jennifer Fisher , Los Angeles Times
Alí Bello, Violin
Venezuelan born Alí Bello is a versatile violinist whose music education started in "El
Sistema" (The National System on Youth Orchestras of Venezuela). In the mid 90's Alí
traveled to New York for college and received Bachelor and Masters Degrees in Music
Arts. His talents include classical music, jazz, pop, R&B, middle Eastern, flamenco, and the
many styles of South American music. He has recorded, performed, toured, and
collaborated with music figures from Tito Puente to Jay-Z as well as performed in Music
Festivals in U.S., England, Australia, and The Caribbean Islands. He has played with the
Latin Jazz Coalition, the Fania All-Star Band, and Orquesta Broadway as well as leading
his own Afro-Latin groups, the Sweet Wire Project, and his Latin Jazz sextet The Jazz
Liaisons.
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THE COMPANY: MUSICIANS (cont’d)
David M. Castellano, Voice
From Cuban and Spanish decent, David is a self-taught singer who has
established himself in the United States as one of the country's top flamenco
singers. He began singing and playing professionally at the age of 20. His
worldwide performances include a variety of musical venues and theaters in
places such as Mexico, Paris, India, Russia, Puerto Rico and Israel. His talent
has led him to perform with great artists such as Pilar Rioja (The Queen of
Spanish Dance), Middle Eastern pop fusion group - Alabina, Omayra Amaya,
Nelida Tirado and Carlota Santana Flamenco Vivo as well as television spots
and commercial compositions.
Barbara Martinez, Voice
Barbara Martinez was born in Venezuela to a family of artists and grew up in New
York City where she began performing in opera, off-Broadway and film at the age of
10. An equally proficient dancer, Barbara currently works with a variety of
Flamenco companies and world music groups, including her own fusion group,
which appeared at Carnegie Hall in 2010. She has performed in jazz, world music
and flamenco festivals in the U.S., Panama and Canada, as well as The Metropolitan
Opera. Barbara is an honors graduate of Brown University and studied at the famed
Cristina Heeren Foundation in Seville on scholarship. She currently teaches music at
Bank Street School and Ethical Culture School, and teaches flamenco dance at
Manhattanville College. Barbara can be seen performing regularly in New York City
venues.
Jose Moreno, Percussion
Born into a family of famous flamenco artists Estrella Morena (dancer) and Pepe de
Málaga (singer), Jose began his flamenco career at age 6 under the guidance of his
parents. After his debut at the famous Tablao Costa Vasca in Miami, Jose
continued his studies with the Great Manolete, Farruquito, and Andres Marin,
studying Cajon with Manuel Soler. Jose has worked with distinguished artists such
as The Great Manolete, Joaquin Ruiz, Pastora Galvan, El Pecas, Jose Cortes
“Pansequito”, Isabel Pantoja, David Bisball, Omayra Amaya, and more. In 2001,
he choreographed and performed a collaborative work with his mother Estrella
Morena, appearing with the renowned flamenco singer Carmen Linares and the
New World Symphony Orchestra at Lincoln Theater in Miami. He has also
appeared at the annual Panama Jazz Festival and at Carnegie Hall in New York
City.
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THE COMPANY: DANCERS
“The dancers convey a sense of spontaneous expression, sparks of fire, while remaining in full
control over the complicated syncopation.” Megin Jimenez, NYTheatre Wire
Sol “la Argentinita,” Dance
Sol "La Argentinita" was born in Buenos Aires, Argentina, later relocating to New York City
where she began her Flamenco career. Since 2008 she has danced with the internationally
renowned company Soledad Barrio and Noche Flamenca in numerous tours and
productions, sharing the stage with figures such as Soledad Barrio, Alejandro Granados, and
Alfonso Losa. She has also appeared with the Metropolitan Opera in Zeferelli's production
of La Traviata, and at New York City’s Town Hall for the World Music Institute’s 20th
Anniversary Celebration. Sol is a two-time recipient of the Cristina Heeren Foundation
scholarship as well as a recipient of the Jerome Foundation's Travel and Study Grant. Sol
teaches classes for children and adults in NYC, including residencies with Alvin Ailey and
Young Audiences.
“Sol la Argentinita harnessed the art form’s power with her seductively aggressive “Solea,” in which her
elegant carriage provided space for tension and relief.” Gia Kourlas,
NYTimes
Marina Elana, Dance
Marina made her performance debut at the age of fifteen with Theatre Flamenco of San
Francisco and continued with the company for three years. Since then, she has appeared
with La Monica's Pasion Flamenca, Maria Benitez's Teatro Flamenco, and Caminos
Flamencos, performing in premier venues along the West coast. Since summer 2012, she
has performed and toured with the world-renowned company Soledad Barrio & Noche
Flamenca. Marina began training in ballet at a young age and delved into flamenco soon
afterward. She began her studies in Spanish classical dance and flamenco with Adela
Clara and continued her training with La Mónica and Yaelisa in the San Francisco Bay
Area. She has also studied in Sevilla and Madrid with Yolanda Heredia, Rosario Toledo,
Concha Jareno and Maria Juncal.
“Elana dances a slow burn in a dark velvet dress, her exquisite hand movements offering hypnotic grace in
opposition to the steps furiously marking complex beats below." Megin Jimenez, NY Theatre Wire
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THE COMPANY: DANCERS (CT’D)
Laura Castellano, Dance
A New York City native, Laura began studying dance at the age of six. She has studied
extensively, both in the U.S. in Spain, with such figures as Andrea Del Conte, La
Repompa de Malaga, Raquel Heredia, El Farruquito and La Farruca. She has danced
with Carlota Santana's Company, Andrea Del Conte's Company and Omayra Amaya's
Company. These esteemed companies have taken her to many theaters and festivals
throughout the US. Laura Castellano can be seen dancing in various "tablaos" in the New
York City area where she resides.
“Laura Castellano makes exquisite use of her arms and hands, seemingly describing better, more perfect
worlds in the air.” Megin Jimenez, NYTheatre Wire
Leslie Roybal, Dance
Leslie Roybal began her career at age 5 performing with a Mexican folkloric dance company.
After earning a BFA in Theater from Stephens College, she continued her dance education at
the University of New Mexico where she studied Contemporary Dance and
Flamenco. Proficient in both dance styles, Leslie has performed in New York and throughout
the U.S. with companies such as Murray Spalding Mandalas, Fred Darsow Dance, Neville
Dance Company, The Metropolitan Opera (in Carmen and La Traviata as well as on tour in
Japan), and Flamenco Vivo Carlota Santana. Last year, she worked with renowned
dancer/choreographer Rosario Toledo in Philadelphia's First Flamenco Festival and with
Angel Muñoz Flamenco Vivo's Annual Tour of the Boros. Apart from performing, Leslie
leads lecture demonstrations, conducts workshops and Master Classes and gives lectures
within the Contemporary Dance and Flamenco ideologies.
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Upcoming Productions & Recent Performance History
FALL 2013
October 11-12, 2013
University of Rochester Meliora Weekend
(performances & workshops)
Rochester, New York
SUMMER 2013
July 27, 2013
The Open Center
New York City
July 28, 2013
“Between the Seas Festival of
Mediterranean Arts”
The Wild Project Theatre- New York City
August 21, 2013
Jacob’s Pillow Inside/Out
Beckett, MA
ONGOING
Every Thursday & Sunday
“The Wine Spot”
New York City
2012-2013
NYC Season at Theatre 80 St. Marks
Multicultural Arts Center (Cambridge, MA)
World Heritage Museum (Lexington, MA)
Le Poisson Rouge (New York City)
Chicago Flamenco Festival (Chicago, IL)
Between the Seas Festival (New York City)
Jacob’s Pillow Inside/Ouwt (Beckett, MA)
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Touring & Repertoire
Program Option A: “Rasgos Flamencos”
Rasgos Flamencos
With an eye on both convention and innovation, this production explores the juxtaposition of the raw
emotional darkness and the festive playfulness, both essential to the art of Flamenco. The "Rasgos Flamencos,"
or defining characteristics of the art form, are present in both traditional repertoire and in pieces with a more
contemporary and individual take on the Spanish art. This performance includes live musicians.
Musicians include: Guitar, Vocals, Percussion, Violin (optional). 3-5 Dancers.
Repertoire/ Pieces include:
El Lenguaje del Abanico: The abanico (Spanish fan) is implemented in an original work that departs from
all of Flamenco’s structural norms. The abanico takes on the role of a percussive instrument and a sharp
visual punctuation. "Ms. Tomás brandished a Spanish fan, but wielded it like a butterfly knife, lunging from side to side in
profile… The stage was alive with sounds: dragging her toe on the floor or tapping the fan onto her chest, she generated her own
percussive score." Gia Kourlas, NYTimes
Martinete: Often referred to as cante jondo,
“deep song,” the Martinete is sung and danced
a palo seco, a capella with rhythm only and no
guitar.
"In "Martinete," Ms. Tomás showed her choreographic
exactitude as the three women, their feet on fire, drifted in
and out of unison and canon." Gia Kourlas, NYTimes
Tangos: An upbeat style within Flamenco
characterized by short letras, or song lyrics,
which are interpreted interchangeably between
dancers.
Farruca: A typically male dance due to its
characteristic linear quality and footwork. In
this case, the females “wear the pants.”
Soleá: A somber and serious style of Flamenco,
the Soleá is also considered cante jondo.
Alegrías: Lively and upbeat, Alegrías are
typical of the port city Cádiz in southern Spain.
Performed here with the traditional bata de cola
(long train dress).
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Touring & Repertoire
Program Option B: “Al Tablao”
Al Tablao
This production features Flamenco in its most traditional format: el tablao. Ideal for non-traditional theater
venues with more of a cabaret-style feel, this production features some of the company’s most critically
acclaimed group numbers, as well as traditional dance solos and musical numbers. This performance
includes live musicians. Musicians include: Guitar, Vocals, Percussion, Violin (optional). 3-5 Dancers.
Repertoire/ Pieces include:
Bulerías “A Palo Seco”: A festive and improvisatory style within Flamenco in which people sing and
dance spontaneously.
Sevillanas: A folkloric style of music and dance typical of Southern Spain and often performed with
castanetts.
Tangos: An upbeat style within Flamenco characterized by short letras, or song lyrics, which can be
interpreted interchangeably between dancers.
Guajiras: A coquettish
piece typical of
Flamenco’s ida y vuelta
styles, which contain
influences from Latin
America and,
specifically, Cuba.
Soleá: A somber and
serious style of
Flamenco, the Soleá is
also considered cante
jondo.
Alegrías: Lively and
upbeat, Alegrías are
typical of the port city
Cádiz in southern Spain.
Here they are
performed with the
traditional bata de cola
(long train dress).
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OUTREACH
Academic & University programming ~
Arts Education
* NOTE: All of the following programs can be carried out independently, or in conjunction with another program and/or one of
the abovementioned performance packages.
Lecture Demonstrations: (tailored to audiences of all ages) The Lecture Demonstration is an
interactive way of combining a straightforward Performance, hands-on workshop, and informative
explanation about the art, culture and history of Flamenco. In between lively performance numbers,
audience members get hands-on experience with playing las castañuelas (castanetts), las palmas (rhythmic
hand-clapping), and they even learn to dance a bit of Flamenco themselves!
Workshops: (tailored to any age and/or skill level) These individual or back-to-back workshops focus on
the essentials of Flamenco dance, including body and hand positions, zapateo (footwork), and palmas
(rhythmic hand-clapping). Working with a variety of beats and rhythms, workshop students will learn how
each element plays a part within the structure of a solo Flamenco dance. Depending on age, skill level, and
number of sessions, participants will learn choreography to recorded music that they will later be able to
practice and perform on their own.
School Performances (K-12): A Palo Seco Flamenco Company presents school performances to
students of all ages, featuring dance and music in a vibrant and entertaining production full of color,
rhythms, and
emotions.
Explanations and
questions are
intermixed with highenergy performance
pieces and audience
participation. Students
learn to play palmas
(rhythmic hand
clapping) and
castanetts, and are
invited to join the
artists on stage to do a
short dance number at
the end.
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ABOUT FLAMENCO
A BRIEF HISTORY
A style of music and dance, as well as a culture in and of itself, Flamenco originated in the southern region of Spain
(Andalusia), and took shape as a public art form during the mid-eighteenth century. Born as a result of the unique
mixture of cultures and religions that co-existed in Andalusia throughout the centuries, some of Flamenco’s most
significant contributors include Sephardic Jews, Southern Spanish Christians, North African Arabs and Muslims,
and Gypsies who originated in India and settled in southern Spain in the 15th century. Upon their arrival, the
Gypsies encountered a repertoire of music and dances, known as Andalusian folklore, which they quickly adopted
and to which they added their own distinctive touch (hand-movements, footwork, and complex rhythms). Over the
years, these songs and dances continued to evolve, and developed from folklore into what we now refer to as
Flamenco. Today, Flamenco continues to mature as an art form and has taken root in many countries around the
world, transforming from a traditional Spanish art into a global phenomenon.
WROUGHT WITH EMOTION
Many of the song lyrics and styles within Flamenco were created in an atmosphere of extreme suffering and
hardship. From poverty and marginalization, to brutality and expulsion, much of Flamenco is the expression of deep
grief and anger, epitomized by styles such as Cante Jondo, or Deep Song. The Gypsies, however, also knew how to
enjoy themselves and juxtapose their grief against joy and celebration. Styles such as the Alegrias or Bulerias have a
bright and often playful feel to them.
LIVE MUSICIANS
While Flamenco is typically identified by dancers wearing long ruffled dresses, rhythmic footwork, and twirling
hands, the Song and Guitar actually predate the dance. Live musicians are central and essential to every Flamenco
performance, and it is only through the interaction that occurs between dancer and musicians that the improvisatory
nature and spontaneous emotional expression so central to Flamenco can occur.
Instruments most typically seen at a
Flamenco show consist of guitar, vocals,
percussion (palmas- rhythmic handclapping, and cajon- a wooden
box/drum). As Flamenco has evolved,
however, many other instruments have
been added to the mix, including cello,
violin, bass, flute, saxophone, piano,
and more.
Company Photographs by:
Niko Alexandrou, Maly Blomberg,
Amor Montes de Oca, Casey Mitchell,
and Lee Wexler
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